“The frescoes on the wall,” he continues, “are particularly interesting, as having been painted by him at the early age of nineteen”—[Mr. King supposes Gaudenzio Ferrari to have been born in 1484]—“when his ambition to share in the glory and renown of the great work was gratified by this chapel being intrusted to him; a proof of his early talent and the just appreciation of it. The frescoes are much injured, but of the chief one there is enough to show its excellence. On one side is St. John, with clasped hands gazing upwards in grief, and the two Marys sorrowing, as a soldier in the centre seems to forbid their following further; his helmet is embossed and gilt as in the instances in the Franciscan church, while the two thieves are led bound by a figure on horseback.” These frescoes appear to me to have been not so much restored as repainted—that is to say, where they are not almost entirely gone. The green colour that now prevails in the shadows and half-tones is alien to Gaudenzio, and cannot be accepted as his. I should say, however, that my friend Signor Arienta of Varallo differs from me on this point. At any rate, the work is now little more than a ruin, and the terra-cotta Pietà is among the least satisfactory groups on the Sacro Monte. Mr. King continues:— “In the Chapel of the Adoration of the Magi we have a work of higher merit, giving evidence of his studies under Raphael.” Here Mr. King is in some measure mistaken. The frescoes in the Magi Chapel are indeed greatly finer than those in the present Pietà, but they were painted from thirty to forty years later, when Gaudenzio was in his prime, and it is to years of intervening incessant effort and practice, not to any study under Raphael, that the enlargement of style and greater freedom of design is due. Gaudenzio never studied under Raphael; he may have painted for him, and perhaps did so—no one knows whether he did or did not—but in every branch of his art he was incomparably Raphael’s superior, and must have known it perfectly well. Returning to Mr. King, with whom, in the main, I am in cordial sympathy, we read:—